1. hobbies and interests
2. guitar

©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
1
11.15.12 Chapter 14
Creating Hymn ChartsSimplifying
• 24 pages
• 32 examples
ℜ indicates an audio recording accompanies the example
What if minutes before the worship service your pastor informs you that he wants your
band to include a particular song in the worship set? (This actually happened to one of
my students!) Quickly, could you create a basic chart that your band could play error free
without any rehearsal? (My student, a worship intern, couldn't do it.) And what if the key
normally used is not a good guitar key (too many flats?), or is pitched too high for the
congregation? Quickly, could you transpose it to the key that's more guitar-friendly and
also better suited for congregational singing? These are important issues in seeking to
become competent.
Let's work on these skills. We'll focus on making chord charts under two different
conditions: (1) when you have a melody only (no harmonies); (2) when you have
hymnbook harmonies that need to be simplified and made idiomatic for guitarists. The
hymns are recorded plainly as written in hymnbooks. We'll address the transposing issue
next chapter.
OUTLINE
Mapping Chords Onto Melodies
Creating Charts Using the Hymnbook
Extracting Basic Harmony from Hymnals
A Difficult Case: Rejoice the Lord is King
Two Difficult Exercises
More Hymns for Practice
REPERTOIRE
The Solid Rock
Come thou Fount
Be thou my Vision
How Firm a Foundation/I Stand Amazed
Rejoice the Lord is King
Great is Thy Faithfulness
Immortal Invisible/ A Mighty Fortress
We Are God's People
Mapping Chords Onto Melodies
Perhaps you've written (or have been given) a melody that needs to be harmonized. You
have no harmonies. Are there any basic principles that would help you select good chord
choices to go with the melody? Consider the following:
1. Look for melodic fragments that outline chords.
2. Look for melodic fragments that center on one or two notes that belong to a chord.
3. Look for repeated notes that give emphasis or weight to specific chord notes.
4. Look for first and last notes of a musical phrase that could belong to a triad.
5. Look for the presence of pentatonic scale fragments.
Now let's demonstrate these five points.
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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First, look for melodic fragments that outline chords. Below, a C chord is outlined.
Example 14.1 Holy, Holy, Holy
C
C
Ho - ly,
ho - ly,
ho -
ly
Second, look for melodic fragments that center on one or two notes that belong to a
chord. For instance, the melodic phrase below is anchored on the note C, the root of the
C chord.
Third, look for repeated notes that give emphasis or weight to specific chord notes.
Below, C is repeated three times, E two times. Both belong to a C major triad.
Circle the chord tones in the example below.
Example 14.2 All Creatures of Our God and King
C
C
PT
PT
crea - tures
All
of
our
God
and
King
The phrase begins on C and moves to the chord tones E and G. D and F are passing
tones.
Fourth, look for first and last notes of a musical phrase that could belong to a triad.
The notes between the first and last could be non-harmonic tones. Below, if C and G
belong to a C chord (and they do), then B and A could be passing tones.
Example 14.3 All Creatures of Our God and King
C
C
Al
-
PT
le
PT
- lu
-
ia,
Al
PT
- le
PT
- lu
-
ia
If the C harmonization seems too bland, use two chord changes at the end (as below).
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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Example 14.4 All Creatures of Our God and King
C
D
PT
PT
G
PT
For more emphasis and definition, a progression of descending fifths could occur (Am Ô
D Ô G).
Example 14.5 All Creatures of our God and King
C
Am
PT
PT
D
G
PT
Many harmonic variations are possible. Clearly there is more than one way to think of a
melody, and the rate of harmonic change is an aesthetic decision. For now however,
concentrate on using basic chords and slow harmonic rhythms. Our concern is for ease of
performance and improvisation.
Instructions for two exercises below. Write in the pop symbols. Use one or two chord
changes per measureno more. No drones! Use only simple chords (major, minor, and
sus)—no 7ths or chord extensions. Remember, your goal is to simplify—so your band
can play it without error the first time. Allow yourself 90 seconds to pencil in the chord
changes! Work fast!
Example 14.6 The Solid Rock (Chart it within 90 seconds)
The Solid Rock is normally written in F major, but we've placed it in E major, a more
friendly guitar key. The meter is normally in 3/4 time but we've changed it to 4/4 time,
which also works.
My
hope
is
built on
noth - i n g less Than
Je - sus blood and
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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4
righ -teous-ness;
I
dare
not
whol -ly lean on
Je - sus name.On
trust
the
sweet - est frame, But
7
Christ, the sol - id
Rock, I stand;All
11
oth - er ground is
sink - i n g sand, All
oth - er ground is
sink -ing sand.
Play it! Test your solution. Make some quick alterations if necessary.
Now quickly fashion a Nashville Number Chart using the same chords.
4/4 Time
Verse
Chorus
The advantage of the Nashville chart is that it can be played in any key.
If you had more time—say a day of advance notice—what refinements would you make?
Follow the same instructions with Come Thou Fount.
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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Example 14.7 Come Thou Fount (Chart it within 90 seconds)
Verse
Come thou
fount
of
ev - e r y
bless -ing, Tune my
heart
to
sing thy
4
grace; Streamsof mer -cy, nev-er
9
ceas-ing, Callfor songs of loud-est
praise.
Chorus
Teach me
some me - lo-dious son
-
net, sung by
flam-ingtongues a -
13
bove. Praise his
name, I'm fixedup - on
it; Name of
God's re -deem-ing
love.
Play it! Test your solution. Make some quick alterations if necessary.
Now quickly fashion a Nashville Number Chart using the same chords.
3/4 Time
Verse
Chorus
If you had more time—say a day of advance notice—what refinements would you make?
Now let return with a final idea for selecting chords to go with melodies.
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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Fifth, look for the presence of pentatonic scale fragments. Often a single chord (here a
D chord) can be sustained over a pentatonic fragment.
Example 14.8 Pentatonic Scale in D Major
Below, the pentatonic melody below is harmonized with (1) only a D chord, (2) with a D
and a Asus chord, (3) with a D, G, and G/A chord.
Example 14.9 Pentatonic Phrase in Be Thou My Vision
Notes of Pentatonic Scale.............................................................
D
D
D
A sus D
D
G
D
G A D
D
G
A sus
D
G A
D
NT
NT
PT
In all three lines no more than one chord change occurs per measure. In line one, one
chord suffices. In line two, an A sus is better than an A chord because the sus avoids the
C#-D clash resulting from the A chord (A, C#, E) against the D in the melody.
Remember, if you need a V chord, three useful possibilities exist: V, Vsus, IV/5 (the
generic expression of the G/A above). The Arabic number 5 (of the IV/5 symbol)
indicates a single bass note rather than a chord.
Now it's your turn. Provide chord symbols for Be Thou My Vision (same instructions).
Example 14.10 Be Thou My Vision (Chart it within 90 seconds)
1
Be
thou
my
vi - sion,
O
Lord
of
my
heart;
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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5
Naught
be
all
else
to
me,
save
by
day
that
thou
art.
9
Thou my
best
thought,
or
by
night
13
Wak - ing
or
sleep
-
ing,
Thy
pres - ence
my
light.
Play it! Test your solution. Make some quick alterations if necessary.
Now quickly fashion a Nashville Number Chart using the same chords.
3/4 Time
Verse
If you had more time—say a
day of advance notice—what
refinements would you make?
Joyful Joyful, below, shows chord changes functioning in context with non-harmonic
tones. A 5-4 suspension is the melody. A new element occurs: inversions (ms 2 & 6) are
used to help smooth the left-hand harmonies. Notice also in m. 5-7 the pedal in the bass.
Example 14.11ℜ Joyful Joyful
1
D F
G
PT
Roman N.
Nashville
I
1
G
D
I
1
V
5
PT
PT PT
V6
5/7
G
I
1
©2012 Barry Liesch
5
Ch14 Creating Hymn ChartsSimplifying
C G
G
PT
I
1
5 -
8
D7
G
4 SUS PT
IV6/4
4/1
ANT
PT
PT
I
1
G
V7
57
I
1
Creating Charts Using the Hymnbook
Now let's shift gears and use hymnbook harmonies as a basic guide. Why bring
hymnbooks into the picture? Because, the younger generation has become disconnected
from its rich heritage. Most students I work with are ignorant of hymnsthey're cut off
from the past. Yet when they become accquainted with hymn lyrics that contain
profound theological thoughts, lyrics which are hundreds of years old and which have
have stood the test of time, they are impressed. They want to be able to take full
advantage of this resource.
But there's a catch. The harmonic settings in hymnbooks are often problematic for bands.
Chord changes often occur too quickly for guitarists. Where the hymnbook may have
four chords per measure, guitarists will want the chords reduced to one or two per
measure. Fewer harmonic changes make performance easier. So let's work at simplying
the harmonies so that this amazing resource, along with worship choruses, can become
functional for bands.
Instructions. No drones! Create one or two chord changes per measure—even sustain a
chord for two measures if possible. Use only simple chords (major, minor, and sus)—no
7ths or chord extensions. Remember, your goal is to simplify—so your band can play
without error. Allow yourself 60 seconds to pencil in the chord changes. Work fast!
Example 14.12ℜ How Firm a Foundation (Chart it within 60 seconds)
How
firm
a
found
- da - tion, you
saints
of
the
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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4
Lord,
is
laid
for
your
faith
in
his
ex
- cel - lent
8
Word! What
more
said,
you
can
he
say
than
to
you
he
has
12
to
who for
ref - uge
to
Je - sus have
fled?
Now create a Nashville Number chart of your solution.
4/4
If you had more time,
how would you
improve the result?
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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Example 14.13ℜ I Stand Amazed in the Presence (Chart it within 45 seconds)
I
stand a -mazed in
the pres-ence of
Je - sus theNaz - a
- rene,
and
5
won - d e r how
9
he could love me, a
sin - n e r , con-demmned, un
- clean.
CHORUS
How
mar - vel-ous,
how
won - der-ful!
How
mar - vel-ous,
how
won - der-ful
And my song shall ev - v e r be:
13
is
my
Sav -ior's love for me!
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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Now create a Nashville Number chart of your solution.
4/4
If you had more
time, how
would you
improve the
result?
Extracting Basic Harmony from Hymnals
When guitarists (particularly) open a hymnbook, they are often presented with another
problem—keys with several flats. For example, the hymnbook harmonization below has
five flats in the key signature. This means that the open strings on the guitar will be
seldom used—a deficit, unless a kapo is used. Moreover, let's also look at hymn settings
that are more complicated harmonically, where it's more difficult to reduce chords
changes to one or two per measure.
Example 14.14ℜ Hymnbook Harmonization of Be Thou My Vision
So our first task is (1) to change to a key with some open strings and (2) to reduce the
number of chords per measure. If you are in the key of Ab for example, consider
transposing to G or A. Here, let's transpose the above example to D major.
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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Example 14.15 Be Thou My Vision transposed to D major
Now we need to reduce the number of chords by extracting the basic harmony. Especially
keep your eyes on the bass and soprano parts.
Example 14.16 Measure One of Be Thou My Vision
The three chord changes in measure one can be reduced to a D chord. Beat one (the
accented beat) is a D chord; beat three repeats the D chord using a different inversion.
Beat two functions as a passing chord (PC): the bass note passes from D through E to F#.
Structurally, the melody is centered on D, the E being a neighbor tone. It's clear,
therefore, that a D chord is the fundamental, underlying harmony.
D
E m7 D F
D
=
PC
Example 14.17 Measure Two of Be Thou My Vision
Below the A chord acts as a neighbor chord (NC): it is preceded and followed by a G
chord. The G chord is the fundamental harmony—it's also in an accented position.
G
A
G
G
=
NC
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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Example 14.18 Measures Three and Four of Be Thou My Vision
In (A), the D major chord is the basic harmony of the passage below (A). The D chord
occurs on beat one (accented beat) of both measures. In (B) the b minor chord acts as a
substitute chord for D major. In (C), a viÔVÔ I progression occurs.
D Bm A D =
(A)
D
(B)
Bm
D
(C)
Bm
A
D
=
Now, let's look at a different, contrasting, hymnbook harmonization of measures 1-4 and
apply some of the same techniques. Again, we'll reduce the rate of harmonic change.
Example 14.19ℜ A Different Harmonization of Be Thou My Vision
This version features an active bass line.
Example 14.20ℜ E Minor Chord for Measure Two
Let's slow down the harmonies. A single E minor chord is a possibility for measure two
especially when the melody line is considered. The first and third melody beats are the
fifth of an Em minor chord, whereas the A in beat two functions as a lower neighbor.
DF
G A
Em
NT
NT
D
PT
The bass part contains descending fifths (EÔ AÔ D), or a basic iiÔ VÔ I progression.
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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Example 14.21 Amajor Chord for Measure Two
An A major chord is also a possibility for measure two. Then, both B's in the melody are
non-harmonic tones, or the ninth of an A major chord.
A C
D
G
Bm
D
PT
Variation 1
Variation 2
Above, notice how the bass line descends by step from D to B (variation 1). The stepwise motion is extended by adding an A in measure three (variation 2).
A Difficult Case: Rejoice the Lord is King
Some hymns are difficult to reduce to one or two harmonic changes per measure. Or,
when harmonic changes are reduced, sometimes a loss of drive and energy can result.
Let's compare the hymnbook version against a harmonically reduced version.
Example 14.22A,Cℜ Line One of Rejoice the Lord is King (Hymnbook Version)
A. Hymnbook Version
C
Re
G B C
C
- joice the Lord is
Am
Em G
King! Your
F
Lord
C E G7
D C
and King
a
G
- dore!
B. Two Chords per measure
G B
C
Re - joice
the
Lord
Am
is
King;
F
Your
Dm
Lord and King
G
a
- dore!
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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C. Bass line more active
C
G B
Am G
Am
Dm Dm F G G A G B
F
Above, example B reduces the harmony to two chords per measure, but the result is less
dynamic than the hymnbook version though the descending bass movement (CÔ BÔ
AÔ FÔ D) is strong. Example C creates more energy by employing stepwise, dotted
quarters and eighths (CÔ G), and a quarter-note movement near the end of the phrase.
Example 14.23 A,Bℜ Line Two of Rejoice the Lord is King (Hymnbook Version)
G
Re
C
Am G B
- joice, givethanks,and
G B C
D
sing, and
G D
D7
G
t r i - u m p h ev - er
- more:
A.
G
Re
C
Am
- joice, give thanks and
G D
G B
D
sing And
tri - umph
ev
D
- er
G
- more.
B.
G
C
Am
Am C
D
DC
G B
G C
G D
D
G
Above, example A reduces the chord changes to two per measure, whereas example B
maintains the basic chord changes but adds movement and energy to the bass. However,
the guitar part in B continues to have no more than two changes per measure.
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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Example 14.24ℜ Line Three of Rejoice the Lord is King (Hymnbook Version)
C
G7 D
F
Lift up your
C
G BC
F A C G
F E A m Dm F
heart, lift up yourvoice!re - joice, a-gain I
C G
G
C
say, re - joice!
Example 14.25ℜ Revised Third Line for Guitar Performance (Rejoice the Lord is King)
C
Lift
F
up your
G B
C
G
heart; Lift
F A
F
Dm
up yourvoice!Re- joice, andgain I
C G G
say, re
C
- joice.
The climactic measures (3 through 5) of each version above, present the greatest
challenge. The two-harmonic changes per measure in the revised version are pretty good.
The downward movement in the bass is strong (B to D).
Below, the descending chromaticism in the bass part is more powerful, but it's more
idiomatic to keyboards than guitars.
Example 14.26ℜ Chromatic, Idiomatic, Keyboard Third Line (Rejoice the Lord is King)
G B C B
F A
C G
F
E
Am
Dm F C G
G
C
Great is Thy Faithfulness
Example 14.27 Hymnbook Version of Great is Thy Faithfulness
Write in basic chord symbols. Use no more than two chords per measure (and then
sparingly).
©2012 Barry Liesch
1
Ch14 Creating Hymn ChartsSimplifying
17
Verse
Great is
Thy
faith - ful-ness
O
God my
no
shad - ow
turn - ing
Fath-er;
5
There
is
of
with
Thee.
9
Thou chang-est
not;
As
been
Thy com
- pas-sions they
f a i l not,
13
17
Thou hast
Thou for
- ev - er
will
be.
Chorus
Great is
Thy
faith-ful-ness!
Great is Thy
faith-ful-ness!
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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21
Morn - i n g
by
morn - i n g
new
mer-cies
I
see;
25
All
I
have
need - ed Thy
hand has
pro
Lord
un - to
- vi - ded
29
Great
is
Thy
faith - ful-ness,
me!
What are you going to do with the dimished chord in measures 13 and 29? Come up with
three alternatives.
Holy Holy Holy
Example 14.28 Hymnbook Version of Holy Holy Holy
Write in basic chord symbols. Use no more than two chords per measure.
1
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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6
11
Immortal Invisible
Example 14.29ℜ Hymnbook Version of Immortal Invisible
Write in basic chord symbols. Use no more than two chords per measure.
Im
- mort - al
in
- vis - i - ble
God on - ly
wise,
In
5
light
in - ac
- ces - i - ble
hid
from
our
eyes.
Most
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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9
bless - ed,
most
might - y
vic
glo - rious,
the
An - cient
of
Days,
Al
-
13
- to - rious, Thy
great
name
we
praise.
Two Difficult Exercises
Example 14.30 Supply Pop Symbols. Seek to Use No More than One or Two Chords
Per Measure. Usethree chord per measure only sparingly, when absolutely necessary.
1
A
might-y for-tress
is
our God, a
bul-warknev-er fail
- ing.Our
6
help -er
he,
a
- mid
the
flood of
mor -tal ills pre - vail
-
ing. For
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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10
still our an - cient
foe doth seek to work us
woe;
his
craft andpow'r are
15
great,
and
armedwith cru - e l
hate,
on
earth is not his
e
-
qual.
Do it! Slow down the harmonic rhythm for guitarists. Why? When chord changes occur
rapidly, it's not only difficult technically for guitarists, but a sense of flow is lost. Pianists,
however, can handle fast chord changes more smoothly. They have 10 fingers available
to move across the keyboard instead of 5. The sustain pedal also promotes flow. How are
you going to have the band handle the fermatas? What other special problems does this
hymn present for a band?
Example 14.31 Supply Pop Symbols. Use one of two chords per measure three
chord only sparingly, when absolutely necessary.
This text is an incredible expression of what is means (scripturally) to be part of the body
of Christ. The last line is a challenge. Put extra energy into making it playable for
guitarists. The melody is derived from Brahm's fourth symphony, the fourth movement.
1
We
We
We
are God's peo - ple, the
are God's loved ones,the
are the
Bod - y of
cho -sen
of the
Bride of Christ our
which the Lord is
Lord,
Lord,
Head.
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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5
born
for
called
of
we
to
his
Spir - it, es - tab-lished by his
have know it, the
love of God out
o - bey him,now
ri - sen from the
Word;
- poured;
dead;
our
now
he
9
c o r - n e r-stone is
let us learnhow
wills us
be a
Christ a - lone, and strong in
to re - turn the
gift of
fam - i - ly, di - verse yet
him we
stand:
loveonce given:
tru - ly
one:
O
O
O
13
13
let us live trans - par-ent - ly, and
let us share each joy andcare,and
let us give our gifts to God, and
walk
live
so
heart to
with a
shallhis
heartandhand in
zeal thatpleas-es
work on earthbe
hand.
Heaven.
done.
18
All Creatures of Our God and King
Example 14.32
The example below utilizes more than the simple major, minor, and sus chords we have
been using. It mixes harmonic progressions and drones. It also demonstrates that
harmonic rhythmic variation is possible.
©2012 Barry Liesch
C
1
Ch14 Creating Hymn ChartsSimplifying
C
All
Thou
G
crea - tures
rush - ing
C
4
of
wind
Am
up your voice and with us
clouds that sail in heav'n a
7
D
lu
lu
10
-
G
C5
ia!
ia!
Thou
Thou
Am
burn - ing
ris - ing
C5 F
Am C
D
G
praiseHim, Al - l e - lu - ia,
praise Him, Al - l e - lu - ia,
God
art
G
C
-
lu - ia,
praise Him,
Am
F
O
O
D
Al - le
Al - le
-
C5
sun with gold - en
morn in praise re
gleam,
voice,
Lift
Ye
C
Al - le
O
C5 A
C
King,
strong,
and
so
C5 F
C5
C5
our
that
sing
- long,
sil - ver moon with soft - er
lights of eve -ning, find
a
13
23
beam,
- joice,
Thou
Ye
F
Dm
praise Him,
praise Him,
G
F
al - le - lu - ia,
al - le - lu - ia,
al - le - lu
al - le - lu
O
O
G
C
- ia!
- ia!
For another excellent assignment, look up the hymn And Can It Be and simplify the
harmonies, using no more than two chords per measure.
More Hymns for Practice?
Easy Examples: O the Deep, Deep Love of Jesus; What a Friend We Have in Jesus; I
Surrender All; Near the Cross; There is a Fountain Filled with Blood; O How I Love
Jesus; The Old Rugged Cross; Trust and Obey.
©2012 Barry Liesch
Ch14 Creating Hymn ChartsSimplifying
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Harder Examples: Fairest Lord Jesus; What Wondrous Love is This; Christ the Lord is
Risen Today; Be Still, My Soul; Now Thank We All Our God; God Moves in a
Mysterious Way; All Hail The Power of Jesus' Name (Coronation tune).
Be joyful always; pray continually; give thanks in all circumstances,
for this is God's will for you in Christ Jesus.
1 Thessalonians 5:16-17